Scan 158
A Dictionary of music and musicians : (A.D. 1450-1880), 1880
20 lines. Read by computer on 6 September 2026. Printed page 147. See the scan on archive.org.
1BARYTON.
3d Mozart considered it one of the loveliest instruments; and when we hear that Haydn considerable time tried hard to learn to , we must regret its being now so entirely ed.
4Pohl, in his Biography of Haydn (Berlin, gives us the following notices concerning yton.
5Makers:—M. Feldlen (1656), H. Kramer D. A. Stadlmann (1733), J. Stadlmann all of Vienna; Joachim Tielke at Ham-686), maker of the fine specimen in the sington Museum, from which our cut is and Andreas Stainer, of Absom in the 1660).
6Performers:—M. A. Berti, Vienna (1721— Signor Farrant, London (1744); Abell, (1759—87). Anton Kraft, Karl Franz Andreas Lidl, members of Prince Esterhazy's band under Haydn (Lidl played in con- England in 1776); Friedel, member of al band at Berlin at the end of the last ginning of the present century. Fauner and V. Hauschka (1795—1823) are named mplied amateur-performers.
7Composers:—Niemecz, L. Tomasini and A. of Esterhaz, Wenzl Pichl, Ferd. Paër, and Eybler, all of Vienna; and last, but st, Haydn. Pohl enumerates no less than npositions of Haydn's for the instrument; Duets for two barytons, 12 Sonatas for 1 and violoncello, 12 Divertimenti for two 1s and bass, 125 Divertimenti for baryton, nd violoncello; 17 so-called Cassations; 3 tos for baryton with accompaniment of lins and bass.
8[P. D.]
10BARYTON (Ital. Baryton; Fr. Basse-Taille, dant). The male voice intermediate to ss and the tenor. The compound βαρύο- signifies 'of heavy timbre,'—in this in- in relation to the tenor. It is therefore a mer; for, however close their approximation pass, the quality of what is now understood baryton voice unmistakeably marks it as bass, not a low tenor. The recognition important fact is manifest in the works majority of modern composers. One in- out of many will suffice. The principal i Mendelssohn's oratorio 'Elijah' ranges e C in the bass stave to the F above it, arely descending below the former note. is it might be with perfect—or too much— y a low tenor, it would obviously lose all nity and breadth. Since the production of t's 'Nozze di Figaro' and 'Don Giovanni' ryton voice has found much favour with ers, and been cultivated with unpre- d success. Innumerable principal parts seen written for it; and not to speak of of this class still before the public, the of Bartleman in England, of Ambrogetti y, and of Martin in France, are historical.
11[J. H.]
13SEVI, ABRAMO, a learned Florentine mu- founder and proprietor of the musical periodical 'Armonia' and of its continuation 'Boccherini,' and one of the originators of the Società del Quartetto,' which has done much to introduce German music into Italy. Basevi is the composer of two operas, 'Romilda ed Ezze- lino,' produced at the Teatro Alfieri in March 1840, and 'Enrico Odoardo' at the Pergola in 1847; the author of theoretical works on music, of a treatise 'Sulla divinazione,' and a 'Studio delle opere di G. Verdi, 1859.'
14[F. G.]
16BASILI, or BASILY, DOMENICO ANDREA, chapel-master at Loreto in the middle of last century. He died in 1775. Santini's collection contained works by him; and a set of twenty-four studies of his for the clavier, entitled 'Musica universale,' etc. was printed by Alessandri of Venice, and is not without merit. His son FRANCESCO was born in 1766, and on the death of his father the boy was sent to Rome and became a scholar of JANNACONI. While still young he was made chapel-master at Foligno. His first appearance in opera was at Milan, in 'La bella incognita,' when he was twenty-two. For Rome he wrote 'La Locandiera' (1789); for Florence 'Achille nell' assedio di Troja' (1798) and the 'Ritorno d'Ulysse' (1799), and for Venice 'Antigono.' Later he became chapel-master at Macerata, and wrote a large number of comic operas for Venice, not all equally successful. He then made a rich marriage, which enabled him to give up work, but the marriage turned out unhappy, and after a separation, in 1816, he returned to his former post at Loreto. For the San Carlo at Naples Basili composed an oratorio, 'Sansone,' in which Lablache sang the chief part. A requiem which he had written for Jannaconi was performed on March 23, 1816, at the Apostles' Church in Rome. In 1827 he was appointed director of the Conservatorio at Milan, where it was his fortune to refuse admission to Verdi. In August 1837 he was called to Rome to take the place of chapel-master at St. Peter's, vacant by the death of Fioravanti, and remained there till his own death on March 25, 1850. While at Rome he was made very unhappy by his inability with the means at his disposal to perform the great masterpieces of old Italian church music. If supported in his wish a great revival might have been accomplished, but with Basili the last hope of a resurrection of Italian church music has perished, a doom which neither Ros- sini nor Verdi—whose style the rigid Basili would hardly have approved—have done much to avert. In addition to many operas, besides those already named, and much church music, Basili composed symphonies in the style of Haydn, one of which used often to be played at Brussels under Fétis' conducting, and always with great applause.
17[F. G.]
19BASS. (Ger. Bass; Fr. Basse; Ital. Basso.) The lower or grave part of the musical system, as contradistinguished from the treble, which is the high or acute part. The limits of the two
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